American Cinematographer - February 2010 - 86

support rods. The fixed stage is equipped with multi-format filter holders for 4"x4" and 4"x5.65" horizontal; a second stage features multi-format filter holders for 5"x5" and 4"x5.65" horizontal. Both the MB 840 R2 and MB 805 Red can be upgraded with further filter stages. The MB 456 R2 boasts a compact and lightweight (approximately 1.3 pounds) design. It can be used with 15mm support rods or it can attach directly to the lens as a sunshade. The two rotating filter stages are equipped with identical 4"x5.65"/4"x4" filter holders. The maximum front-element diameter is 130mm, covering most lenses commonly used with the Red One. Chrosziel products are distributed in the United States by 16x9 Inc. For more information, visit www.chrosziel.com and www.16x9inc.com. AJA Releases Free iPhone App AJA Video Systems has released the AJA DataCalc iPhone application, a fast and simple storage-requirement calculator for video and audio professionals. DataCalc can be used in the field during acquisition or in the edit bay during post, allowing the user to effortlessly calculate their storage consumption and data-capturing requirements. The application supports a wide array of video-compression formats, including Apple ProRes, DVCProHD, HDV, XDCam, DV, RGB and YUV uncompressed, and more. Supported video standards include NTSC, PAL, 1080i, 1080p, 720p, 2K and 4K. “We’re all big fans of the iPhone and wanted to create an application that would be useful to our customers in professional digital content creation,” says Nick Rashby, president of AJA Video Systems. “DataCalc is right in line with AJA’s product philosophy, which aims to deliver products that simplify and streamline the often complex workflows of video professionals. It’s a simple little application that has already proven to be very handy in the field!” The application features an intuitive user interface where most settings can be entered with a simple finger scroll through lists of the most common file-format configurations. Durations can be entered in units of days, hours or seconds, or in a precise time code frame count. A “More” button 86 February 2010 allows users to further select and specify frame rates, frame sizes and compression type, as well as audio sample rates and bits per sample. Pressing the “Information” icon on the “More” page takes users to a “Summary” page where they can review results and have the option to deliver the data via email. DataCalc is available as a free download from the Apple iTunes Store. For more information, visit www.aja.com. Filmworkers Adds Digigog Services Filmworkers has launched the Digigog digital-media processing service at its Chicago and Dallas locations. The service is aimed at facilitating the growing number of feature film, television and commercial productions that are choosing to capture and post their projects as data. The Digigog offers a seamless, onestop solution for servicing commercials, films and other projects from dailies through delivery, especially those shot with digital cameras such as the Red One and Vision Research Phantom HD. Services include dailies processing for digitally acquired media, real-time non-linear color grading at resolutions up to 2K, and final assembly and deliverables production. The Digigog’s services can also be packaged with other services offered by Filmworkers, including visual-effects production, CG and motion-graphics design. “Projects that originate on data have special technical and creative requirements,” says Reid Brody, president of Filmworkers. “The Digigog has the resources needed to process Red camera and other data files with maximum quality and effi- JMR Stores Red Data JMR Electronics, Inc. has launched the BlueStor Red Video Storage Server, which boasts a transfer rate of over 1.4 GB/s and is ideal for recording and streaming digital video imagery captured on a Red One digital camera or used in complex SD, HD, 2K and 4K postproduction workflows. The 4U rack-mount 16-bay RAID system offers extremely high performance, robust reliability and a wide variety of ingest and output features, making it ideal for both postproduction, streaming and DVR/DVTR replacement editing applications. The BlueStor Red also features dual quad-core processors; dual 3 Gb/s internal SAS expanders; dual PCIe RAID controllers; redundant hot-swap power supplies and fans; a 19-in-1 card reader; Blu-ray writer; an Nvidia Quadro FX5600 SDI graphics card; 24 GB of DDR3 ECC memory; and USB, FireWire, dual GigE and an E-SATA storage port. The system can scale up to 32 TB using the latest generation 2 TB disk drives. American Cinematographer JMR’s affordable and fault-tolerant storage solutions are based on the company’s PeSAN (PCIe Storage Attached Network) technology. The company’s 16bay BlueStor PeSAN RAID systems were developed to be the ultimate in high-performance Direct Attached Storage or Network Attached Storage for a wide range of video applications, including content creation, video editing and 2K/4K digital-intermediate applications requiring extremely high sustained throughput and reliability. For collaborative or multi-stream SD/HD and 2K/4K DI workflows requiring even higher performance and scalable storage, BlueStor PeSAN RAIDs can achieve up to 4,000 MB/s and be expanded to over 4,000 TB using the current JMR PeSAN technology. For more information, visit www.jmr.com.
http://www.chrosziel.com http://www.16x9inc.com http://www.aja.com http://www.jmr.com

American Cinematographer - February 2010

Table of Contents for the Digital Edition of American Cinematographer - February 2010

American Cinematographer - February 2010
Contents
Editor’s Note
President’s Desk
Short Takes: What’s in the Box?
Production Slate: Fish Tank • Dollhouse
Bad Moon Rising
Artistry and Conscience
Working With the Red
Terror in Technicolor
Post Focus: Offhollywood Digital
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Marc E. Reshovsky, ASC
Clubhouse News
ASC Close-Up: Paul Cameron
American Cinematographer - February 2010 - American Cinematographer - February 2010
American Cinematographer - February 2010 - Cover2
American Cinematographer - February 2010 - 1
American Cinematographer - February 2010 - 2
American Cinematographer - February 2010 - Contents
American Cinematographer - February 2010 - 4
American Cinematographer - February 2010 - 5
American Cinematographer - February 2010 - 6
American Cinematographer - February 2010 - 7
American Cinematographer - February 2010 - Editor’s Note
American Cinematographer - February 2010 - 9
American Cinematographer - February 2010 - President’s Desk
American Cinematographer - February 2010 - 11
American Cinematographer - February 2010 - Short Takes: What’s in the Box?
American Cinematographer - February 2010 - 13
American Cinematographer - February 2010 - 14
American Cinematographer - February 2010 - 15
American Cinematographer - February 2010 - 16
American Cinematographer - February 2010 - 17
American Cinematographer - February 2010 - Production Slate: Fish Tank • Dollhouse
American Cinematographer - February 2010 - 19
American Cinematographer - February 2010 - 20
American Cinematographer - February 2010 - 21
American Cinematographer - February 2010 - 22
American Cinematographer - February 2010 - 23
American Cinematographer - February 2010 - 24
American Cinematographer - February 2010 - 25
American Cinematographer - February 2010 - 26
American Cinematographer - February 2010 - 27
American Cinematographer - February 2010 - 28
American Cinematographer - February 2010 - 29
American Cinematographer - February 2010 - 30
American Cinematographer - February 2010 - 31
American Cinematographer - February 2010 - Bad Moon Rising
American Cinematographer - February 2010 - 33
American Cinematographer - February 2010 - 34
American Cinematographer - February 2010 - 35
American Cinematographer - February 2010 - 36
American Cinematographer - February 2010 - 36A
American Cinematographer - February 2010 - 36B
American Cinematographer - February 2010 - 37
American Cinematographer - February 2010 - 38
American Cinematographer - February 2010 - 39
American Cinematographer - February 2010 - 40
American Cinematographer - February 2010 - 41
American Cinematographer - February 2010 - 42
American Cinematographer - February 2010 - 43
American Cinematographer - February 2010 - 44
American Cinematographer - February 2010 - 45
American Cinematographer - February 2010 - Artistry and Conscience
American Cinematographer - February 2010 - 47
American Cinematographer - February 2010 - 48
American Cinematographer - February 2010 - 49
American Cinematographer - February 2010 - 50
American Cinematographer - February 2010 - 51
American Cinematographer - February 2010 - 52
American Cinematographer - February 2010 - 53
American Cinematographer - February 2010 - 54
American Cinematographer - February 2010 - 55
American Cinematographer - February 2010 - Working With the Red
American Cinematographer - February 2010 - 57
American Cinematographer - February 2010 - 58
American Cinematographer - February 2010 - 59
American Cinematographer - February 2010 - 60
American Cinematographer - February 2010 - 61
American Cinematographer - February 2010 - 62
American Cinematographer - February 2010 - 63
American Cinematographer - February 2010 - 64
American Cinematographer - February 2010 - 65
American Cinematographer - February 2010 - 66
American Cinematographer - February 2010 - 67
American Cinematographer - February 2010 - Terror in Technicolor
American Cinematographer - February 2010 - 69
American Cinematographer - February 2010 - 70
American Cinematographer - February 2010 - 71
American Cinematographer - February 2010 - 72
American Cinematographer - February 2010 - 73
American Cinematographer - February 2010 - 74
American Cinematographer - February 2010 - 75
American Cinematographer - February 2010 - 76
American Cinematographer - February 2010 - 77
American Cinematographer - February 2010 - Post Focus: Offhollywood Digital
American Cinematographer - February 2010 - 79
American Cinematographer - February 2010 - 80
American Cinematographer - February 2010 - 81
American Cinematographer - February 2010 - New Products & Services
American Cinematographer - February 2010 - 83
American Cinematographer - February 2010 - 84
American Cinematographer - February 2010 - 85
American Cinematographer - February 2010 - 86
American Cinematographer - February 2010 - 87
American Cinematographer - February 2010 - International Marketplace
American Cinematographer - February 2010 - 89
American Cinematographer - February 2010 - Ad Index
American Cinematographer - February 2010 - 91
American Cinematographer - February 2010 - In Memoriam: Marc E. Reshovsky, ASC
American Cinematographer - February 2010 - 93
American Cinematographer - February 2010 - Clubhouse News
American Cinematographer - February 2010 - 95
American Cinematographer - February 2010 - ASC Close-Up: Paul Cameron
American Cinematographer - February 2010 - Cover3
American Cinematographer - February 2010 - Cover4
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